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REVIEW: Arlekin Players Theatre’s mesmerizing ‘The Dybbuk: Between two worlds’ returns

Posted on November 15 by The Sleepless Critic

Someone is laughing.

Its cadence echoes into a peerless and infectious glee that troubled Khonen, depicted by Andrey Berkovskiy, finds irresistible. It does not take long to see that Khonen will go to the ends of the earth and beyond seeking that voice chiming in its ethereal splendor.

Unique, haunting, funny, charming, spiritual, and exceptionally creative, The Dybbuk: Between two worlds remains a mesmerizing must-see theatrical experience.

I never use the term ‘must see’ lightly, but it nonetheless fits this particular production in all of its unexpected and immersive twists and turns set exclusively inside a Jewish synagogue. Brimming with unconventional creativity and cultural tradition, The Dybbuk is a spectacular journey and a dark tale steeped in meticulously timed and atmospheric special effects as it unveils a thrilling and enchanting piece of ancient Jewish folklore.

Andrey Berkovskiy and Yana Gladkikh Photo by Irina-Danilova

Imaginatively directed by Igor Golyak, written by Roy Chen, and based on the original play by S. Ansky, Arlekin Players continues the Elliot Norton Award-winning The Dybbuk: Between two Worlds live and in person at The Vilna Shul, Boston’s Center for Jewish Culture in Boston, Massachusetts through Sunday, November 16. This semi-interactive and well timed theatrical experience is not limited to the stage and runs 1 hour and 50 minutes with no intermission. Click here for more information and for tickets.

The Dybbuk: Between two worlds tackles love, marriage, faith, life, death, grief and the in between as well as the significance of a synagogue that still stands after all the turmoil it has endured. As the play observes describing a synagogue, ‘The walls are damp with tears.’ A synagogue can be the center of sorrow or great joy and community, but above all, it is a sanctuary of hope when all seems lost.

What makes this production so exciting, beautiful and so downright impressive is this complex and powerful classic tale is wrapped in a riveting experience. The Dybbuk is a grand and exhilarating journey, but it also depicts sweet moments of simplicity from Andrey Berkovskiy as restless Khonen and Yana Gladkikh as innocent Leah with finesse. Both characters shine in their perspective roles but Berkovskiy’s wondrous curiosity, playfulness, mischievousness, passion and anguish boast a spellbinding charisma. While his good intentions radiate in the smallest of gestures, Berkovskiy’s wide eyed wonder of this world and his boldness are often at odds as he agonizes over his fate. In long braids and ribbons, Gladkikh as sweet Leah demonstrates a beautiful vulnerability and conflict in her delicate and porcelain like features infused with a soothing and melodious voice that she also uses to sing. Gladkikh’s Leah is delightful, innocent, romantic, and naïve sharing with Berkovskiy a captivating, giddy, and endearing playfulness in a situation that is eternally complicated.

This enthusiastic cast blends intensity and humor and although this is an ancient tale, Golyak strings together elements of the traditional and the contemporary. Wearing a string of pearls and a black dress, Deb Martin commands the stage as Leah’s grandmother with a rigid frame yet bold and heightened awareness. Shrewd and protective with a dry sense of humor, Martin as Frade is not to be underestimated while Robert Walsh brings broad cynicism and dark humor to stubborn Sender.

Robert Walsh in ‘The Dybbuk’ Photo by Irina-Danilova

The Dybbuk’s immersive and unpredictable setting is fueled by ingenious creativity in Jeff Adelberg’s luminous lighting design in shadows and glowing stars seamlessly paired with Fedor Zhuravlev’s robust and occasionally manually created sound that animates this dark, mystical and ancient world filled with rustic crystal chandeliers and scaffolding that sit beneath a vast skylight by scenic designer Igor Golyak with Sasha Kuznetsova. The Dybbuk’s emotive light and sound deliver an ominous quality, humor, and awe-inspiring surprise nothing less than magical. The transformation of a simple piece of plastic is just a sample of the inventive flair that helps to piece together this often poetic tale.

Anna Furman, Olga Aranova, and Yana Gladkikh Photo by Irina-Danilova

Imaginatively directed by Igor Golyak, written by Roy Chen, and based on the original play by S. Ansky, Arlekin Players continues The Dybbuk: Between two worlds live and in person at The Vilna Shul, Boston’s Center for Jewish Culture in Boston, Massachusetts through Sunday, November 16. Click here for more information and for tickets.

REVIEW: Lyric Stage’s understated ‘Our Town’ makes the everyday extraordinary

Posted on October 15 by The Sleepless Critic

The one constant is change.

Though in a sleepy town like Grover’s Corners, change may not be frequent, but with time, it is inevitable.

Directed discerningly by Courtney O’Connor, Lyric Stage Company of Boston continues Thornton Wilder’s 1938 Pulitzer prize-winning drama, Our Town live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, October 19. This classic three-act production is not limited to the stage and runs two hours and ten minutes including an intermission. Click here for more information and for tickets.

Thomika Marie Bridwell* and Amanda Collins* in Lyric Stage’s ‘Our Town’ Photo by Nile Hawver

Our Town is one of the great American masterpieces of our time and holds a special place in my heart. Its subtle yet gripping messages about the circle of life universally resonate and can speak to any generation. I’ve seen Our Town several times before, and yet, every production is its own fresh and unique experience.

An astute play, I believe your perception of Our Town changes as you grow and change. Watching it as a teenager in a school play hits differently than seeing it as an adult and will transform again watching it as an elder. In its simplicity, it carefully unveils life’s profound and fleeting journey while staying relevant for each generation.

Scenic designer Shelley Barish and costumer Rachel Padula-Shufelt embrace its timeless quality by creating a modest yet classic tone in each element of the production. An impressive multipurpose wooden circular structure is the symbolic centerpiece of Grover’s Corners as Deb Sullivan’s rich and stirring lighting comes to life during affective and pivotal moments, especially in a vibrant purple moonlit sky bathed in puffy clouds. Instead of using early 19^th century period costumes, Rachel Padula-Shufelt shrewdly showcases classic Americana attire which includes suspenders, button down shirts, cardigans, stately three piece suits, understated dresses, and baseball and newsboy caps.

WIll McGarrahan* in Lyric Stage’s ‘Our Town’ Photo by Nile Hawver

Using very few physical props, much of the production is traditionally imagined through Will McGarrahan‘s skilled and interactive narration as Stage Manager. His engaging, mirthful and intimate delivery acts as part educator, omniscient narrator, occasional sage commentator, and at times, stepping into the action.

Kathy St. George* in Lyric Stage’s ‘Our Town’ Photo by Nile Hawver

As much as the show may focus on the residents of Grover’s Corners, New Hampshire, they are second fiddle to the town itself and its unfolding features. Within the town’s examination and analysis starting in 1901, something lies deeper within its quiet beauty and unlocked doors. It also contains a wealth of local references that is not too far from its Boston staging.

Darren Paul, Thomika Marie Bridwell,* Jacob Thomas Less, Kathy St. George,* Amanda Collins,* Jessie Garlick and John Kuntz* in Lyric Stage’s Our Town Photo by Nile Hawver

Whether it’s Josephine Moshiri Elwood as forthright and wondrous Emily or Thomika Marie Bridwell as fanciful Mrs. Gibb, delightful Kathy St. George as inquisitive and precocious Rebecca or Amanda Collins as staunch traditionalist Mrs. Webb or John Kuntz as frank and disheartened Simon Stimson, this wonderful and well cast company authentically explore the small joys, hardships and realities of life with humor, humility and grace. Elwood as Emily and Dan Garcia as George Gibbs particularly share a sweet sincerity and idealistic charm as they discuss their bright futures.

Dan Garcia and Josephine Moshiri Elwood* in Lyric Stage’s ‘Our Town’ Photo by Nile Hawver

Some productions don’t need all the bells and whistles in order to be genuine and Our Town fits the bill through its strong sense of community. In this age where life is becoming more and more digitized, this small town unpacks life’s perplex meaning through connection in an impactful production season by season.

Directed discerningly by Courtney O’Connor, Lyric Stage Company of Boston continues Thornton Wilder’s Pulitzer prize-winning drama, Our Town live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, October 19. Click here for more information and for tickets.

REVIEW: Arlekin Players Theatre’s ‘The Dybbuk: Between two worlds’ a haunting and mesmerizing theatrical experience

Posted on June 13, 2024 by The Sleepless Critic

Someone is laughing.

Unique, haunting, funny, charming, spiritual, and exceptionally creative, The Dybbuk: Between two worlds is a mesmerizing must-see theatrical experience.

Imaginatively directed by Igor Golyak, written by Roy Chen, and based on the original play by S. Ansky, Arlekin Players continues The Dybbuk: Between two Worlds live and in person at The Vilna Shul, Boston’s Center for Jewish Culture in Boston, Massachusetts through Sunday, June 30. This semi-interactive theatrical experience is not limited to the stage and runs 1 hour and 50 minutes with no intermission. Click here for more information and for tickets.

The Set of ‘The Dybbuk’ in Vilna Shul .Photo by Irina Danilova

The Dybbuk: Between two worlds tackles love, marriage, life, death, grief and the in between as well as the significance of a synagogue that still stands after all the turmoil it has endured. As the play observes describing a synagogue, ‘The walls are damp with tears.’ A synagogue can be the center of sorrow or great joy, but above all, a sanctuary of hope when all seems lost.

Andrey Burkovskiy. and Yana Gladkikh Photo by Irina Danilova

What makes this production so exciting, beautiful and so downright impressive is this complex and powerful tale is wrapped in a riveting experience. The Dybbuk is a grand and exhilarating journey, but it also depicts sweet moments of simplicity from Andrey Berkovskiy as Khonen and Yana Gladkikh as Leah with finesse. Both characters shine in their perspective roles but Berkovskiy’s wondrous curiosity, playfulness, mischievousness, passion and anguish boast a spellbinding charisma. While his good intentions radiate in the smallest of gestures, Berkovskiy’s wide eyed wonder of this world and his boldness are often at odds as he agonizes over his fate. Gladkikh as Leah demonstrates a beautiful vulnerability and conflict in her delicate and porcelain like features infused with a soothing and melodious voice that she also uses to sing. Gladkikh’s Leah is delightful, innocent, romantic, and naïve sharing with Berkovskiy a captivating, giddy, and endearing playfulness in a situation that is eternally complicated.

Leah flies to Khonen. Photo by Irina Danilova

This enthusiastic cast blends intensity and humor and although this is an ancient tale, Golyak strings together elements of the traditional and the contemporary. Wearing a string of pearls and a black dress, Deb Martin portrays Leah’s grandmother with a rigid frame yet bold and heightened awareness. Shrewd and protective with a dry sense of humor, Martin as Frade is not to be underestimated.

Deb Martin as Frade. Photo by Irina Danilova

The Dybbuk’s immersive and unpredictable setting is fueled by ingenious creativity in Jeff Adelberg’s luminous lighting design seamlessly paired with Fedor Zhuravlev’s robust sound that animates this dark, mystical and ancient world filled with rustic crystal chandeliers and scaffolding that sit beneath a vast skylight by scenic designer Igor Golyak with Sasha Kuznetsova. The Dybbuk’s emotive light and sound deliver an ominous quality, humor, and awe-inspiring surprise nothing less than magical. The transformation of a simple piece of plastic is just a sample of the inventive flair that helps to piece together this often poetic tale.

Andrey Burkovskiy calling to Leah. Photo by Irina Danilova

Imaginatively directed by Igor Golyak, written by Roy Chen, and based on the original play by S. Ansky, Arlekin Players continues The Dybbuk: Between two worlds live and in person at The Vilna Shul, Boston’s Center for Jewish Culture in Boston, Massachusetts through Sunday, June 30. This semi-interactive theatrical experience is not limited to the stage and runs 1 hour and 50 minutes with no intermission. Click here for more information and for tickets.

REVIEW: Hub Theatre Company of Boston’s zany and immersive dinner comedy ‘Slow Food’ survival of the hangriest

Posted on July 27, 2022 by The Sleepless Critic

Having to wait for food isn’t easy, but the crazy antics that result are quite extraordinary in Slow Food, a wild comedy that focuses on a long time married couple on their anniversary vacation who finds themselves in pursuit of their meal. It’s a good thing that Hub Theatre Company of Boston cleverly sets this production in a dinner theatre setting because not only does the show address love, marriage, manipulative food service and more, but most importantly, the very art of being frustratingly hangry.

With witty direction by Daniel Bourque, Hub Theatre Company of Boston presents Slow Food through Saturday, July 30 live and in person at Club Café Boston at 209 Columbus Ave in Boston, MA. This show is 90 minutes with no intermission and tickets are on a pay-what-you can-basis. Club Café offers a discount on the menu when attending Slow Food. Click here for more information and for tickets.

Jyoti Daniere as Irene, Victor L. Shopov as Waiter Stephen, and Steve Auger as Peter Photo courtesy of Lauren Elias/Hub Theatre Company of Boston

Club Café’s backroom was once artfully transformed into a hair salon setting for Steel Magnolias, one of Hub Theatre Company of Boston’s lighthearted past productions held at Club Café Boston. Though a Palm Springs Greek restaurant setting is less of a stretch, set designer Justin Lahue’s subtle candlelit setting, vine adorned walls and framed photos onstage flow with the candlelight and Ukraine flags that frame Club Café while sound designer Ted Kearnan’s inviting Greek soundtrack sets the mood.

Slow Food’s immersive and interactive vibe continues as Jyoti Daniere as Irene, Steve Auger as Peter and Victor J. Shopov as Stephen the Waiter wander through Club Café at various times, making it easy to engage in the frustrating hilarity of this pair as they attempt to navigate a stubborn, preoccupied waiter and each other through it all.

Slow Food features a small and strong cast with dialogue that is pretty snappy at times. Shopov pushes all the right buttons and stealthily builds tension as a nosy, savvy and neurotic waiter that doesn’t know his boundaries. With a dry sense of humor, natural chemistry, and a gift for pushing each other’s buttons, Daniere and Auger make a likeable and relatable couple. Daniere as perceptive, exasperated, and sympathetic Auger as business minded, occasionally distracted and blunt Peter know they must rally to negotiate a good meal if they can get past their personal grievances as secrets gradually unfold along the way.

Slow Food is only the name of the show and Club Café delivered quick and attentive service. Try the delicious Raspberry White Chocolate Cheesecake for dessert.

Hub Theatre Company of Boston presents Slow Food through Saturday, July 30 live and in person at Club Café Boston at 209 Columbus Ave in Boston, MA. This show is 90 minutes with no intermission and tickets are on a pay-what-you can-basis. Club Café offers a discount on the menu when attending Slow Food. Click here for more information, tickets, and for more about Hub Theatre Company of Boston.

REVIEW: Soprano-actress Christina Pecce puts her own spin on a few famous faces in fabulous ‘Witches, Bitches, and Divas!’

Posted on September 19, 2019 by The Sleepless Critic

In a white suit and glittering heels, soprano and actress Christina Pecce may have paid homage to Beyonce (her style reminiscent of Beyonce’s suit at the Superbowl 50 halftime show), but certainly stepped into quite a few famous shoes with ‘Witches, Bitches, and Divas,’ a one night only, one woman cabaret that took place at the American Repertory Theatre’s (A.R.T.) Oberon Theatre in Cambridge, Massachusetts on Sunday, September 8. Click here for a closer look at ‘Witches, Bitches, and Divas!’ and here to see where Christina will perform next.

Don’t be deceived by the title. No witches, bitches, or divas actually appear in the show unless you are referring to “every woman” Christina Pecce. Her one woman show steps into all three categories to create a partly auto-biographical and comedic musical show covering the likes of Elphaba (Witch) from the Tony award-winning hit musical ‘Wicked,’ Miss Hannigan from the classic musical, ‘Annie‘ (Bitch, if left to interpretation), and diva Mariah Carey. She also chooses zany selections about marriage and shows off her classically-trained vocal talents performing a soaring French opera and then a tonally-deaf singer with Flanders and Swann’s A Word to My Ear. The bottom line is Christina Pecce can sing just about anything.

Witches Bitches and Divas Oberon Cambridge

The Oberon in Cambridge, Massachusetts Photo credit to Witches, Bitches and Divas

Accompanied by a trio of powerhouse musicians which included Music Director Steve Bass on piano, drummer George Darrah, and bassist Nick Francese, Christina brings humor and personal anecdotes while adding her own spin to various medleys. She tackles subjects like nannies, drinking, and gravity and even sneaks in an amusing little drinking game too.

From Sondheim to Nat King Cole, Christina makes her time onstage an unpredictable, interactive treat as she occasionally wanders through the crowd, serenading a few audience members. She also left a piece of her heart onstage in a stirring rendition of Sondheim’s ‘Being Alive.’ Pecce last appeared at the Oberon in February and from the glowing reception she received when she returned, it certainly will not be her last time.

American Repertory Theatre’s Oberon is an intimate and inviting night club without a bad seat in the house that welcomes a variety of shows throughout the year. Located at 2 Arrow Street in Cambridge, Massachusetts, the Oberon is American Repertory Theatre’s second stage for theatre and nightlife. Click here for upcoming events at the Oberon, here to learn more about Christina Pecce, and here for more about the American Repertory Theatre.

REVIEW: Hingham Civic Music Theatre’s ‘The Annulment’ makes parting sweet sorrow

Posted on September 3, 2019 by The Sleepless Critic

First comes love. Then comes marriage. This new musical takes a look at what may come next.

Playwright Sheila Kelleher, Music Director John Ferguson, and choreographer Cat Umano collaborated for a two day workshop of a world premiere musical destined to be submitted to a future New York festival. Hingham Civic Music Theatre presented ‘The Annulment’ on Friday, August 23 and Saturday, August 24 at Hingham Town Hall in Hingham, Massachusetts. This show contains some adult humor. Click here for more information and more about Hingham Civic Music Theatre’s future productions.

With music accompaniment consisting of Music Director and pianist John Ferguson and percussionist John Duff, the inviting set was well suited for this production as the show travels to different eras and timeframes.

‘The Annulment’ may have been about three different couples and what happens after they said, ‘I do,’ but what truly gives this show more emotional weight are the larger questions it pursues. What does it take for long-lasting happiness? What stirs the soul? What constitutes an annulment and when is it just legal jargon on a piece of paper? Celia, portrayed with quick-witted cynicism and wistfulness by Carole Shannon, just wants some answers.

Hingham Civic Music Theatre The Annulment Celia and Nadine

Carole Shannon as Celia and Stephanie Blood as Nadine Photo courtesy of Hingham Civic Music Theatre

‘The Annulment’ could very well have developed into a drawn out court battle, but it instead explores the nature of relationships, love, loss, and everything in between. The cast has a very natural chemistry and it is not difficult to imagine this group being longtime friends. The show is also not without its share of wild and sometimes cynical humor. James Swindler channeled a Vince Vaughn vibe as Dave, a playful, party-loving guy who has an uninhibited passion for his equally wild wife Nadine, a lively and comical performance by Stephanie Blood. Their uninhibited and flirtatious antics are among the most amusing parts in the production and they both clearly look like they are enjoying themselves.

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Carole Shannon shows a pensive, vulnerable side as Celia, her smooth vibrato poignant during the numbers, When I Used to Sing and What We Missed. Charlie McKitrick impressively portrays Tony, a critical man who constantly worries more about outward appearances than anything else. ‘The Annulment’ is skilled at building tension and there is no lack between these two. Offering a sympathetic, non-judgmental ear is Deanna Lohnes as Celia’s supportive friend Sabrina. ‘The Annulment’ is a funny, relatable musical comedy with heart when life doesn’t quite deliver a happily ever after.

Hingham Civic Music Theatre has been entertaining audiences for over 70 years. This fall, ‘The Dr. Seuss Experience’ exhibit will be heading to Boston and Hingham Civic Music Theatre is also presenting ‘Seussical The Musical‘ in October. Click here for all the details and their recently announced 2020 season.